Ryan Elder
Forum Replies Created
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Yep for sure, I see what you mean. I just figured since I am on a microbudget, I cannot afford all types of mics, and have to be more choosy therefore. But I can see how there is no one size fits all sort of thing.
If I were to make this decision based on my experience, I like the sound of the boom mics better, compared to lavs and would ideally like to keep using the ones I have, as I felt I invested in ones that do a good job, if I can find a boom operator who can boom well.
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Oh okay, in the past, I would have someone do the sound design, but they would also give me a 5.1 surround or stereo mix. Are these two things normally done by two different people?
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Oh well I am good with doing either as long as the person does a good job. I can spend time with that person or send them off and he/she could give me progress reports as they work on their own, if that’s better. Either seems good I would think.
Usually my audio is recorded pretty clean, unless some huge mishap happens, that cannot be redone, and would need sweetening, but assuming the majority of it is clean, I was just wondering how long it would take.
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Sorry I did not mean to come off as a troll. I was seriously, legitimately asking if I should sell my boom mics and booming equipment for lav mics, since lav mics can be operated without the use of a boom operator.
I thought that was a good, legitimate question to ask, and did not count as trolling. Is that not an okay question to ask, when it comes to audio production?
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In close up shots, a boom operator can get the mic in real close, but what about master shots?
Like if you at this scene here as an example:
https://www.youtube.com/watch?v=AApQkNSViGg
In that scene for the first master shot you see, the mic is quite far from the actor since it’s a wide master shot. So when the mic is that far away, wouldn’t the gain have to be turned up quite high, if using a boom mic?
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Yep that’s what I did the boom mic was about two feet away for a lot of the shots, which were medium close ups. However, with a lav, it’s six to 9 inches away from the actor.
So wouldn’t the gain have to be turned up a lot less, if the mic is 6 – 9 inches away, compared to 1.5 – 2 feet?
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Did you use Premiere Pro’s automatic syncing feature?
Cause I was told by others that Premiere Pro, often cannot sync totally accurately with the automatic syncing feature, and you have to sync manually a lot, as that is just more accurate compared to getting Premiere Pro, to guess exactly where the sync points are.
But that was what I was told by others, when experiencing similar problems. So I just sync manually therefore.
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Oh okay thanks. I used lavs a couple of times before when doing other people’s projects, where they wanted to use lavs.
I thought that lavs required less gain, because the mic is closer to the talents mouth compared to a boom mic. So therefore, the gain doesn’t have to be turned up as much to get proper levels, compared to a boom mic, where I had to turn the gain up higher.
Is that true though? That has just been my experience, unless I was doing something wrong.
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Okay thanks, I am in Saskatchewan, Canada, where I shoot most of my short films.
Why not do it, are boom mics better quality than lavs?
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Oh okay, thanks. But what about when it comes to perspective change? Would real editors cut on that during narration voice over?